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ART  of 
HOME  FURNISftING 
and  DECORATION 

Frank.  Alvah  Parsons 


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Digitized  by  the  Internet  Archive 

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IVIicrosoft  Corporation 


http://www.archive.org/details/artofhomefurnishOOparsrich 


THE  ART  OF 
HOME  FURNISHING 
AND  DECORATION 


By 

FRANK  ALVAH  PARSONS 

I' 

President,  New  York  School  of  Fine  and  Applied  Art 

Author  of  "Interior  Decoration — Its  Principles  and 

Practice,**  Etc. 


Published  by 

ARMSTRONG  CORK  COMPANY 

LINOLEUM  DEPARTMENT 

LANCASTER,  PA.,  U.  S.  A. 


P34 


Copyright  1918  by 

ARMSTRONG  CORK  COMPANY 

Linoleam  Department 

Lancaster     •     PennayWania 


;f 


FOREWORD 

Frank  Alvah  Parsons,  President  of  the  New  York  School  of  Fine 
and  Applied  Art,  is  the  foremost  American  authority  on  interior 
decoration.  He  long  since  has  amply  demonstrated  his  wonderful 
faculty  for  turning  his  knowledge  to  the  common  good.  We 
know  of  no  man  who,  with  voice  and  pen,  has  fought  harder  or 
more  unceasingly  for  better  taste,  for  richer,  fuller  home  life. 

Mr.  Parsons  hardly  can  seem  a  stranger  to  the  average  reader 
of  this  book.  Indeed,  through  his  writings  and  lectures,  he  has 
become  guide  and  counsellor  and  the  personal  friend  of  thousands 
of  refined  men  and  women,  who  have  accepted  the  idea  so  well 
developed  by  Mr.  Parsons  in  the  following  pages,  that  "Man  is 
what  he  lives  in; "  that,  generally  speaking,  man  can  be  no  greater 
or  no  less  than  the  daily  environment  in  which  he  works,  thinks 
and  lives. 

We  take  great  satisfaction  and  pleasure  in  announcing  Mr. 
Parsons  as  the  author  of  that  section  of  this  book  which  is  entitled 
"The  Art  of  Home  Furnishing  and  Decoration."  It  is  written 
in  Mr.  Parsons'  typically  intimate  and  forceful  style,  and  every 
paragraph  is  replete  with  information  and  suggestions  of  great 
value.  We  are  sure  that  this  book  will  hold  your  interest  from 
the  first  to  the  last  word,  and  that  in  the  end  you  will  look  on 
the  possibilities  of  your  home  and  your  life  within  it  in  a  fresh 
and  considerably  enlarged  perspective. 

After  you  have  spent  an  hour  with  Mr.  Parsons  on  the  general 
theme  of  home  furnishing  and  decoration,  we  believe  that  it 
will  profit  you  to  read  what  is  written  by  ourselves  in  the  latter 
part  of  the  book  on  the  specific  subject  of  linoleum  and  its  rela- 
tion to  the  principles  that  Mr.  Parsons  has  laid  down. 

ARMSTRONG  CORK  COMPANY  IH 


37^6 


THE  ART  OF  HOME  FURNISHING 

AND   DECORATION  Frank  Alvah  Parsons 

Man  is  exactly  what  he  Hves  in,  for  environment  is  the  strongest 
possible  factor  in  man's  development.  One  may  be  so  long 
among  loud  noises,  bad  odors,  inharmonious  colors  and  wrong 
arrangements  of  things  that  one  doesn't  mind  them,  because  one 
has  let  them  become  an  integral  part  of  one's  self.  They  are 
there,  and  they  are  as  bad  as  they  were  at  first,  but  one  has 
become  immune  to  them.  This  being  admitted,  it  follows,  of 
course,  that  concordant  sounds,  agreeable  odors,  harmonious 
colors  and  pleasing  arrangements  have  their  immediate  effects,  but/  / 

their  tendency  is  toward  refinement,  culture  and  artistic  appre-^    "V 
elation  instead  of  toward  brutality,  ignorance  and  indifference.)      \ 

It  is  certainly  not  hard  to  see  what  effect  is  produced  by  living 
in  any  wrong  environment.  As  a  person  accustoms  himself  to 
it,  he  becomes  like  it.  When  he  is  like  it,  he  will  admire  only  its 
kind,  and  whatever  he  does  will  be  as  nearly  like  his  environ- 
ment as  he  himself  is. 

The  importance  of  thoroughly  comprehending  this  truth  cannot 
be  overstated.  The  mental  and  artistic  quality  of  the  nation 
and  even  its  physical  comfort  depend  upon  it.  This  viewpoint, 
being  somewhat  new  to  us,  accounts  for  the  upheaval  in  our 
ideas  of  what  a  home  really  is.  Looking  a  little  into  this  matter 
may  perhaps  stimulate  us  still  further  in  our  thinking,  which  will 
affect  our  way  of  doing  whatever  we  attempt  in  the  future. 

In  the  first  place  the  home  is  the  center  of  all 
The  Home  Molds  jife^g  activities.    We  are  bom  there,  and  long    > 

S^s''^**^^  """^    ^^^^^®  ^®  ^^^®  ^^^^  ^^®  ^^^^'  ^^  ^^^^'  ^^®    1 
church  or  even  the  school,  tur  first  impressions    ) 

of  the  fundamentals  of  life  have  become  fixed.]    These  are 

exceedingly  hard  to  efface. 

The  school  can  hardly  hope  to  coimteract  in  the  child's  mind  the 
effect  of  hearing  incorrect  language  spoken  at  home  for  six  years; 
the  church  is  greatly  handicapped  in  its  influence  where  wrong 
principles  of  life  have  determined  habits  during  the  first  years; 

5 


the  artistic  sense  is  practically  dead  and  refinejpeTit  of  taste 
impossible  in  that  child  whose  parents  have  given  the  usual 
wall  papers,  rugs,  hangings,  pictures  and  other  objects  of  modern 
furnishing  a  chance  to  do  their  unrestricted  work.  Most  of  these 
have  been  made  to  sell,  but  not  to  people  who  use  any  judgment 
in  buying.  Occasionally  we  think  of  the  durability  or  the  com- 
fort of  an  article,  but  how  seldom  of  the  colors,  the  patterns, 
the  combinations  of  different  periods  with  different  meanings, 
all  of  which  unite  to  make  an  unthinkable,  inharmonious  jumble 
which  produces  a  reaction  on  an  impressionable  person  little 
short  of  criminal.  This  being  the  case,  is  it  any  wonder  that 
wejai:ft,S3itisfied  with  infmorjhings  or  that  we  cannot  compete 
with  other  nationFmereating  better  ones? 

S    This  view  of  the  home  as  an  educator  places  it  above  any  other 
^  institution  in  life  and  makes  it  worthy  of  the  most  careful  and 
Vscientific  study  from  several  points  of  view.     It  might  be  well 
to  consider  here  four  of  the  most  important  of  these. 

■   „  The  first  requisite  of  a  house  is  physical  com- 

Satisfy  t^B  d      ^^^'    ^^^  ^^^^  ^^  ^^^^  ^''^^  ^^  ^^      article  of 
furniture,  but  it  is  true  also  of  the  placing  of 

each  piece  as  it  relates  to  the  other  pieces. 

Take,  for  instance,  a  divan,  a  chair,  a  table,  a  lamp,  some  books 
and  a  footstool.  It  is  not  enough  that  the  chair,  the  divan  and 
the  stool  should  each  be  comfortable  to  the  body,  but  comfort 
demands  that  each  be  so  placed  that  one  can  use  the  divan  or 
chair  with  the  stool,  while  the  books  on  a  table  with  a  lamp  are 
placed  so  that  one  may  lounge  or  sit  and  read  without  effort 
and  without  expending  energy  to  assemble  what  is  required. 
The  best  possible  arrangement,  you  see,  demands  more  skill 
than  at  first  appears. 

„        M    t  M^ew^a?  comforts  even  more  important  to  man 

Satisfy  the  Mind  ^^  ^^^  home  than  physical  comfort.  He  must, 
or  should,  find  in  his  home  an  intellectual 
stimulus  and  a  refining  influence  to  complement  the  activities 
and  struggles  of  his  life  outside,  to  calm  and  rest  the  tired  nerves 
and  to  relieve  the  material  or  commercial  stress  which  threatens 


entirely  to  destroy  his  power  to  see  or  know  anything  else. 
Unconsciously  driven  by  this  need  he  rushes  from  home  to  the 
club,  to  the  theatre  or  elsewhere  for  diversion,  amusement  or 
rest.  This  is  not  as  it  should  be,  for  in  the  right  environment 
the  home  should  furnish  the  rest  and  intellectual  refreshment 
needed.  Let  us  consider  that  there  must  be  an  expenditure  of 
thought  and  skill  in  furnishing  a  home  if  it  is  to  play  its  rightful 
part  in  the  scheme  of  life. 

Even  then,  there  is  another  thing  to  consider. 
g     .  A  man  may  succeed  in  accomplishing  wonders 

in  the  realm  of  physical  comfort,  yet  so  com- 
pletely ignore  the  question  of  sanitation  as  to  menace  the  health 
of  his  family,  if  not  to  offend  their  sense  of  decent  cleanliness. 
The  horrors  of  Victorian  plush  upholstery,  chenille  portieres  and 
nailed-down  carpets  are  still  fresh  in  the  memory  of  some  of  us, 
and  we  have  not  yet  been  able  to  get  a  clear  idea  of  a  really 
clean  thing  because  of  the  bad  impression  made  on  us  by  these 
conditions.  Probably  we  never  shall,  until  we  succeed  in  effacing 
their  memory  by  discarding  the  traditions  they  represent  and 
adopting  wholly  different  ideas  in  their  places.  Let  us  think  of 
the  question  of  sanitation  as  a  second  necessity  in  considering 
any  household  problem. 

^     ,   ^  .  It  is  perhaps  unnecessary  to  look  at  this  mat- 

Costly  IningS  J.         £  J.T.-  -xi?  •'Lj.a. 

Not  Always  Best  ^^^  ^^^  viewpomt  of  economics,  but  to 
me  it  seems  very  important.  We  cannot  all 
afford  to  buy  everything  we  see,  desire  or  even  appreciate. 
Realizing  this,  we  lose  enthusiasm  and  take  almost  anything. 
This  is  not  necessary,  nor  is  it  wise.  Good  things  are  not  all 
costly,  nor  are  all  cheap  things  equally  bad.  One  might  also 
add  that  frequently  very  costly  things  incline  to  be  bad;  at  any 
rate,  there  is  far  greater  danger  of  their  being  so  because  of 
the  greater  opportunity  they  afford  for  the  expression  of  bad 
taste. 

Knowledge  furnishes  the  greatest  defense  against  bad  things  in 
any  form.  The  more  one  knows,  the  more  capable  he  is  of 
selecting  the  best  for  his  money  and  of  using  his  selections  in 

7 


} 


such  a  way  as  to  suggest  that  much  more  was  paid  for  them 
than  they  really  cost. 

Intelligent  selection — ^the  art  of  buying  the 
An  Artistic  Home  most  appropriate  furnishings  and  decorations 
i!tep[^EHl^^^  for  the  home— leads  logically  to  intelligent  dec- 
^^^S  '      oration,  the  art  of  arranging  the  furnishings 

and  decorations  so  as  to  make  possible  a  thoroughly  attractive 
home  and  keenly  enjoyable  living  for  the  family. 

The  introduction  of  the  word  "Art"  always  opens  up  a  new  field 
fraught  with  unpleasant  possibilities.  So  many  things  mas- 
querade under  this  name  that  we  are  almost  deceived  as  to 
what  it  really  is.  Shall  we  not  attack  and  dispose  of  some  of 
these  fallacies  before  attempting  to  see  what  it  actually  is? 

Because  it  is  an  art  to  decorate  we  are  apt  to  think  that  anything 
attached  to  or  hung  on  to  another  thing  is  decoration,  therefore 
artistic.  Nothing  could  be  further  from  the  truth.  Principles 
control  decoration,  and  decoration  is  only  possible  when  it  con- 
forms to  these  principles.  In  order  to  be  decorative  there  must 
be  something  that  requires  decoration;  that  is,  which  is  incom- 
plete in  itself.  As  soon  as  material  of  any  kind  is  added  after  a 
thing  is  complete,  the  result  becomes  an  aggregation,  not  a 
decoration. 

Most  houses  belong  to  this  class  because  the  owner  refuses  to 
stop  when  he  is  done.  He  may  also  have  erred  through  having 
no  place  to  decorate,  his  background  being  of  such  a  kind  that, 
struggle  as  it  might,  nothing  could  compete  for  attention,  there- 
fore could  not  become  decorative  by  contrast.  Simplicity  in 
backgrounds  is  the  foundation  of  decorative  possibility. 

Oversentimentality  is  as  bad  as  overdecoration. 
No  Room  for  Sentiment  is  not  only  commendable  but  is  an 
en  en  y  essential  element  that  makes  for  human 
decency,  but  sentimentality,  which  by  most  people  is  thought  to  be 
the  same  thing,  is  unpleasant  and  unhealthy.  Admiration, 
affection,  veneration — each  of  these  qualities  has  its  place  with 
all  of  us  in  its  particular  situation.  This  is  well;  but  when, 
through  association,  we  mistake  an  impersonal  object  for  the 
8 


real  qualities  of  a  person  and  begin  to  bestow  adoration  on  it, 
then  it  is  time  to  stop  and  think. 

To  be  sure,  one  respects  some  things  in  his  grandfather  and  his 
other  forebears.  He  is  not  insensible  to  the  excellent  points  in 
his  friends  and  associates.  But  if  he  is  a  wise  man,  he  does  not 
apply  all  his  grandfather's  good  qualities  to  all  the  furniture  he 
uses,  nor  the  excellent  points  in  his  friends  to  all  the  objects 
they  have  felt  impelled  to  give  him  at  one  time  or  another  for 
some  sort  of  reason.  If  half  the  rubbish  in  every  house  in  Amer- 
ica that  exists  for  solely  sentimental  reasons  or  because  of  a  fear 
of  being  detected  in  its  destruction  were  to  be  burned  now,  the 
next  generation  would  have  a  much  clearer  vision  of  what  art  is, 
unhampered  by  sentimental  misconception. 

A  sentimental  and  an  aesthetic  feeling  are  quite  distinct  from 
each  other.  Who  is  there  among  us  who  does  not  love  nature? 
The  trees,  the  birds,  the  flowers — they  seem  to  be  a  part  of  the 
great  Divine  scheme  which  calls  for  especial  appreciation.  This 
is  also  well;  but  nature  is  not  art,  neither  is  man's  imitation  of 
it.  Sometimes  his  interpretation  of  it  is  art,  sometimes  it  is 
not.  Not  infrequently  his  conventionalization  of  nature  and  its 
adaptation  to  the  material  in  which  it  is  to  be  used  become  a 
decorative  art;  yet,  even  if  this  is  accomplished,  the  thing  may 
be  spoiled  in  the  use,  and  an  inartistic  whole  may  result.  Just 
and  reasonable  homage  to  nature  has  impelled  people  to  try  in 
all  sorts  of  ways  to  imitate  it.  This  is  not  art  Art  is  creation, 
not  imitation.  One  has  but  to  reflect,  and  amazement  must 
result  when  one  realizes  to  what  this  impulse  has  led  in  every  field 
of  expression.  Flowers  have  been  painted  on  everything  known, 
from  the  kitchen  floor  to  the  plush  sofa  pillow.  The  more  like 
nature  these  decorations  have  appeared,  the  more  artistic  they 
were  thought  to  be,  when  the  truth  was  actually  the  reverse. 
The  more  natural  these  are,  the  more  inappropriate  they  are 
as  seen  from  any  viewpoint. 

Art  is  Creative       ^^^  ^^  there  that  would  not  hesitate  to  sit 

down  on,  or  put  his  foot  on,  a  perfectly  natural 

rose  or  lily?    Where  is  there  a  human  being  that  would  care  to 

lie  down  on  a  pillow  with  the  painted  face,  even  of  an  Indian, 

9 


in  the  center?  Who  can  see  nature  insulted  in  various  objects 
by  the  sticking-in  of  pins  or  the  driving-in  of  nails?  The  whole 
thing  is  too  simple.  Nature  has  its  place,  but  it  is  not  art,  nor  is 
the  imitation  of  it  art. 

This  is  so  intimately  associated  with  another  fallacy  that  it 
should  suggest  it  without  comment.  The  appetites  of  man  are 
ever  insistent  for  attention.  The  desire  for  food,  drink,  shelter 
— ^these  are  physical  appetites.  They  make  their  assertions 
naturally,  and  when  normally  treated  bear  their  relation  to  the 
rest  of  life.  But  neither  these  nor  the  sensations  attendant  on 
them  are  art,  nor  should  these  senses  be  confounded  with  the 
artistic  sense. 

Apples  and  pears  look  well  on  trees,  in  suitable  receptacles  or  on 
tables.  They  are  to  eat.  Imitations  of  them  painted  on  plates 
seem  to  win  admiration  at  once  for  their  likeness  to  the  real  thing. 
The  saliva  flows  in  the  mouth,  the  digestive  organs  begin  their 
natural  functions,  and,  while  our  sensations  are  purely  physical, 
strangely  enough  many  think  this  artistic.  It  is  the  hunger  ap- 
petite being  appeased,  not  the  aesthetic. 

The  atrocities  committed  in  this  field  are  innumerable.  Exact 
copies  of  everything,  from  a  bunch  of  grapes  to  an  ostrich, 
may  be  found  in  one  winter's  millinery  display,  while  the  real 
or  copied  forms  of  everything,  from  a  dried  fish  to  a  gigantic 
moose  head,  may  be  seen  in  one  dining-room  at  one  time.  This 
is  not  art.  It  is  natural  history  and  botany  illustration  in 
museum  effect. 

All  !>•  TV       ^^^  hardest  thing  in  the  world  to  combat  is  a 

Good  *™"^*  universal  belief  in  the  infallibility  of  pictures. 

These  are  necessary  to  convey  ideas  and  they 
have  a  function  to  perform.  They  are  interesting,  they  may 
even  be  amusing,  but  they  are  by  no  means  always  artistic.  So 
great  has  been  the  belief  in  and  admiration  for  pictures,  that  we 
have,  as  a  nation,  pretty  nearly  surrendered  to  the  idea  that 
drawing  and  picture-making  alone  are  art.  No  greater  mistake 
than  this  has  ever  been  made.  There  are  a  thousand  more  bad 
pictures  than  there  are  good  ones  and  a  hundred  bad  ones  used 
10 


in  houses  where  one  good  one  appears.  This  is  because  we  seem 
to  have  a  kind  of  fear  that  there  may  be  a  vacant  place  on  the 
wall  and  also  because  the  picture  idea  has  become  a  mania. 

"  Silence  is  golden, "  but  a  blank  space  on  a  wall  is  often  diamonds 
and  emeralds  compared  to  one  filled  with  the  average  pictures 
that  are  hung,  not  to  mention  their  frames.  What  shall  we  say 
of  this  phase  of  human  dissipation,  particularly  when  the  frames 
in  question  are  gilt  ones?  A  person  who  allows  himself  to  deco- 
rate his  house  with  picture  frames  instead  of  pictures  should  be 
expected  to  hang  his  wardrobe  in  the  front  hall  for  the  same 
purpose.  The  results  of  this  mania  should  not  be  charged  up 
to  the  credit  side  of  art.  Rather,  the  man  afflicted  with  it  is  a 
slave  to  tradition. 

For  the  most  difficult  thing  in  the  world  is  for  a  person  to  change 
his  established  way  of  thinking  or  of  doing  anything.  It  is  so 
much  easier  to  think  as  one's  grandfather  did  and  to  do  as  one's 
father  did  than  it  is  to  think  and  do  for  one's  self.  For  this 
reason  we  are  somewhat  handicapped  in  getting  at  the  essence 
of  art  and  its  practical  applications  to  ordinary  life.  If  mahogany 
was  the  favored  wood  in  the  last  half  of  the  eighteenth  century, 
of  course  it  is  a  good  idea  to  use  it  for  anything,  anj^where,  for- 
ever afterward,  even  though  a  much  better  substitute  is  at  hand. 
If  floors  were  hardwood  or  soft  wood  or  stone,  or  even  plastered 
with  Oriental  rugs  bearing  no  relation  to  the  rest  of  the  house, 
there  seems  to  be  no  reason  why  people  should  change  the  rugs 
or  have  another  kind  of  floor. 

Examples  of  this  adherence  to  tradition  are  so  frequent  and  so 
deadly  that  to  cite  more  would  be  a  waste  of  time.  Traditional 
belief  that  antiques  are  always  good  or  that  the  work  of  some 
particular  man  is  forever  praiseworthy  or  that  some  particular 
article  should  always  be  used  in  some  established  way,  has 
blinded  us  to  the  possibilities  in  the  right  use  of  new  things  in  a 
progressive  way.  All  this  hinders  a  clear  perception  of  what 
art  really  is. 

If  these  things  which  have  been  misnamed  art  are  carefully 
removed  from  consciousness  permanently,  it  is  easy  enough  to 

11 


-^ 


I 

J 


see  what  art  is,  and  then  it  becomes  almost  an  unconscious 
process  to  apply  it,  whether  the  application  is  made  to  the 
house,  to  clothes  or  to  other  personal  forms  of  expression. 

Art  is  Expressing    ^^  ^^^  ^^^  place,  art  is  creation.    It  is  the 
Yourself  personal  expression  of  the  individual  in  any- 

material  or  combination  that  completely  con- 
veys his  conception  of  what  he  is  trying  to  project. 

This  connection  generally  expresses  a  need  which  he  himself 
feels.  It  may  be  for  a  house,  a  living-room,  a  divan,  a  hat,  a 
footstool,  a  typewriter  or  an  automobile.  In  any  case,  there  is 
a  need  for  something  for  a  particular  use.  This  need  should 
be  the  reason  for  the  art  expression.  Spurred  on  by  the  need, 
a  man  creates  something  which  will  fill  the  need. 

This  need  is  both  functional  or  material  and  mental  or  artistic. 
One  bar  to  seeing  what  art  is  rests  in  not  recognizing  this  two- 
fold element  in  it.  Insofar  as  one  is  able  to  make  a  chair  that 
fits  the  body,  fulfils  its  special  function  as  a  dining-room  chair, 
or  a  study  chair,  he  has  succeeded  in  creating  the  first  artistic 
element.  An  object  which  does  not  do  honestly  and  truthfully 
and  sensibly  what  it  purports  to  do  cannot  be  artistic,  no  matter 

Art  is  Beauty  '^^^  second  element  that  enters  into  art  is 

appearance  or  beauty.  This  element  or  quality 
is  a  little  more  difficult  to  define  because  it  is  relative,  just  as 
heat  is,  or  as  goodness  is.  What  seems  warm  to  one  seems  cold 
to  another;  what  seems  good  to  one  may  be  bad  to  some  one 
else;  so,  then,  the  standard  of  beauty  depends  entirely  upon  one's 
own  conception  of  it.  This  does  not  mean  that  anything  that 
anybody  considers  beautiful  is  so,  any  more  than  it  means  that 
it  is  a  warm  day  when  the  thermometer  is  at  zero  because  some- 
body does  not  feel  cold.  It  simply  means  that  the  person  who 
judges  may  or  may  not  have  a  right  mental  standard  of  what 
beauty  really  is.  This  standard  may  be  acquired  approximately 
by  anyone,  for  it  is  determined  by  certain  principles.  If  the 
principles  of  harmony  are  understood  and  applied,  beauty  will 
result. 

12 


Take,  for  instance,  the  problem  of  a  particular 
The  Function  of  room.  The  first  question  to  ask  one's  self  is: 
a  Room  ^^What  is  this  room  for?"    If  it  is  a  dining- 

room,  it  is  a  place  in  which  to  eat  in  peace.  If  it  is  a  living-room, 
it  is  to  live  in  and  should  have  a  quiet,  restful,  refined  and  other- 
wise pleasant  atmosphere.  If  it  is  a  bedroom,  it  is  to  rest  and 
sleep  in.  From  whatever  standpoint  the  room  is  viewed,  the 
question  of  use  comes  first.  Anything  in  the  dining-room  that 
interferes  with  eating  in  peace  is  in  bad  taste.  Whatever  appears 
as  decoration  in  the  living-room  that  is  unrestful,  tawdry,  com- 
mon or  unessential,  is  inartistic.  If  the  bedroom  contains  any- 
thing that  is  out  of  tone  with  its  general  spirit,  if  it  contains 
anything  that  makes  for  other  than  an  atmosphere  of  calm 
contentment  and  deep,  sound  sleep,  it  should  be  removed  at 
once.  Let  this  point  of  view  spur  us  on  to  make  an  investiga- 
tion of  our  houses — ^room  by  room — and  alter  or  remove  every- 
thing that  strikes  a  jarring  note. 

Let  us  start  with  the  bedroom.  Are  there  spotted  fabrics  or 
papers  on  the  wall,  the  spots  on  which  one  involuntarily  counts, 
even  after  going  to  sleep?  Are  there  a  half  dozen  small  pictures 
in  black  frames  against  a  white  background,  so  hung  that 
successive  steps  are  formed  which  resemble  the  front  hall  stairs? 
Are  there  other  diverting  and  disturbing  arrangements  in  the 
room  that  seem  to  invite  us  to  close  our  eyes  to  avoid  further 
annoyance?  Much  can  be  done  in  house  decoration  by  elimina- 
tion, and  the  strongest  argument  for  this  process  will  be  found 
in  submitting  each  room  to  the  test  as  to  the  performance  of 
its  proper  function. 

These  elements,  fitness  to  use  and  beauty,  which 
f  A  ^"*^^^      when  combined  make  what  is  called  the  art  of 

quality,  must  be  made  comprehensible  by  facts 
and  truths  which  can  be  expressed  in  a  language  form  that  all  may 
learn  to  understand.  This  art  language  is  made  up  of  color,  form, 
line  and  texture,  and  depends  for  its  efficiency  on  a  knowledge  of 
the  principles  which  govern  it  and  upon  an  appreciation  for  the 
niceties  in  its  use.  Anyone  can  learn  the  principles  and  will 
grow  in  appreciation  as  he  makes  a  right  use  of  what  he  knows. 

13 


,  \  ?  ki  A  A:  ^  , 

N  .1 V  j^  K  £  I  T 1- 


Of  the  qualities  mentioned,  color  is  the  most  interesting;  at 
least,  it  is  the  easiest  to  see.  At  the  same  time  it  is  the  most 
misused.  This  is  much  too  small  a  space  in  which  to  demonstrate 
with  any  thoroughness  the  color  language  idea,  but  two  or  three 
of  the  most  important  facts  must  be  emphasized. 

Nothing  is  more  personal  than  color  and 
Color  to  Express/  nothing  admits  of  expressing  personality  with 
Personality         "^  clearer  or  more  manifest  charm.    The  normal 

colors — ^yellow,  red,  blue,  green,  orange  and 
violet — ^may  be  used  in  illustration  of  this  statement. 

Color  has  its  source  in  light,  and  natural  light  comes  from  the 
sun.  Yellow  looks  most  like  the  sun,  as  it  expresses  the  quality 
that  the  sun  seems  to  give  out.  From  the  sun  we  are  cheered, 
made  light-hearted  and  receive  new  life.  Yellow  in  a  room 
should,  under  normal  conditions,  produce  the  same  feelings 
where  it  is  the  basis  for  the  wall  color  or  is  used  in  curtains  or 
in  other  spots.  Red  suggests  blood  and  fire.  It  is  associated 
with  activity,  aggression  and  passion.  It  heats  and  stimulates. 
One  who  fails  to  react  to  color  is  not  normal  or  is  immune  from 
overcontact,  while  one  who  simply  likes  or  dislikes  a  color  and, 
therefore,  uses  it  or  never  does,  misses  the  real  chance  to  express 
ideas.  If  one  prefers  red,  there  is  no  proof  in  the  fact  that 
makes  it  incumbent  on  him  to  live  surrounded  by  it.  He  may 
be  erratic  enough  without  it,  or  possibly  he  doesn't  need  a  stimu- 
lant. Need  is  the  fundamental  question  rather  than  liking.  It 
is  a  question  of  what  one  ought  to  have. 

It  is  interesting  to  know  that  the  aggressive  quality  of  red 
makes  a  room  in  which  it  is  used  smaller  in  appearance,  and 
there  are  times  when  this  is  not  desirable.  Its  warming  quality 
is  not  needed  in  hot  climates  or  during  a  warm  season. 

Blue  has  an  opposite  effect  from  red.  Its  reactions  are  restraint, 
coolness,  repose  and  distance.  By  association  one  thinks  of  a 
clear  blue  sky  and  the  cool  breezes  from  the  blue  waters  of  the 
ocean.  This  makes  blue  a  suitable  antidote  for  hot  weather  and 
a  temperate  force,  useful  in  modifying  some  people's  dispositions. 
Green,  which  is  a  union  of  yellow  and  blue,  expresses  the  quali- 
14 


ties  of  both.  Nothing  could  be  more  restful,  soothing  and 
agreeable  than  the  cheering  and  cooling  effects  of  a  seat  in  the 
shade  upon  the  green  grass  under  luxuriant  green  trees,  in  the 
middle  of  a  hot  day.  It  is  easy  to  see  the  practical  application  of 
this  in  decorative  art. 

Violet  or  purple  has  the  qualities  of  red  and  blue,  while  orange 
has  the  qualities  of  yellow  and  red.  It  is  interesting  to  study 
the  natural  reactions  shown  by  people  of  all  ages  and  conditions 
to  these  colors  as  environments  under  different  mental  conditions. 
Incomplete  as  these  suggestions  are,  they  are  probably  sufficient 
to  establish  the  point  that  personal  qualities  or  individual 
character  traits  can  be  definitely  expressed  in  color  terms  and 
that  antidotes  for  an  excess  of  certain  qualities  are  just  as  possi- 
ble where  a  knowledge  of  color  exists. 

There  is  a  second  color  quality  that  we  must  not  ignore.  If  I 
think  of  one  group  of  colors  containing  light  pink,  delicate  blue, 
lavender,  canary  yellow  and  white  as  representing  one  idea, 
and  dark  crimson,  heavy,  dark  green,  blue  with  a  rich,  dark 
purple  and  black  as  another  group,  I  have  a  basis  for  compari- 
son. If  my  problem  of  expression  is  the  qualities  that  we  gener- 
ally attribute  to  youth,  or  the  proper  colors  for  a  young  girl's 
bedroom,  or  for  the  lighter  and  more  delicate  things  in  life,  I 
have  no  hesitation  in  choosing  the  first  group.  If,  on  the  other 
hand,  the  problem  is  one  of  clothes  for  a  person  of  mature  age, 
or  a  color  scheme  for  a  library  in  an  old  English  house,  or  some 
other  problem  in  which  the  qualities  required  are  dignity,  quiet- 
ness and  stability,  there  should  be  no  question  as  to  the  prefer- 
ence for  the  second  group. 

This  quality  of  light  and  darkness  in  color  is  called  valite  and 
must  not  be  forgotten  in  using  color  as  a  language. 

There  is  no  doubt  that  the  third  quality,  called  intensity,  is  the 
most  important  of  all  to  a  right  understanding  of  interior  deco- 
ration. This  quality  determines  how  brilliant  or  how  forceful 
a  color  tone  is.  Softer  and  less  aggressive  tones  are  called 
neutral  or  neutralized  colors.  The  most  important  question  in 
using  color  decoratively  is  that  which  relates  to  the  distribution 

15 


and  correct  placing  of  neutralized  colors  in  their  relation  to 
the  more  intense  ones.  The  grossest  errors  in  the  whole  realm 
of  color  used  in  decoration  are  committed  in  this  field.  One 
or  two  principles  that  relate  to  this  matter  must  always  be 
carefully  observed:  "Backgrounds  should  be  less  intense  in 
color  than  objects  that  are  to  appear  against  them  in  any  deco- 
rative way."  From  this  it  obviously  follows  that  walls,  ceilings 
and  floors  of  houses  must  be  less  intense  in  color  than  hangings, 
upholsteries,  small  rugs,  pictures  and  other  decorative  material. 
This  is  one  of  the  most  important  points  to  remember  in  every 
color  problem. 

U     \    ^s     There  is  a  corollary  to  this  which  is  equally  important:  "The 
S>  V     -C    larger  the  color  area  the  less  intense  it  should  be,  and  the  smaller 
>  l^  the  area,  the  more  intense  it  may  be."    According  to  this  prin- 

ciple,  hangings  and  large  rugs  must  be  less  intense  in  color  than 
sofa  cushions,  lamp  shades  and  decorative  bits  of  pottery  and 
other  materials.  Keeping  this  relation  of  areas  in  mind  is  an 
aid  in  selecting  any  article  for  the  house,  as  well  as  a  help  in 
choosing  those  things  that  are  concerned  with  one's  personal 
appearance.  A  red  necktie  is  more  appealing  than  a  red  suit, 
so  is  a  red  flower  or  ribbon  more  decorative  on  a  black  hat  than 
a  gray  one  would  be  on  a  red  hat. 

The  slightest  attempt  at  using  color  must  disclose  its  power  to 
express  personality,  its  natural  value  feeling  and  its  decorative 
dependence  upon  a  proper  distribution  of  intensities. 

While  the  principles  of  form  are  a  little  less 

Useoll^orm  apparent  in  their  illustration  to  most  of  us 

to  £xpres8  Ideas    .f  -,  j.  ^.i  ,        .  ^     ^  . 

'^  than  color,  yet  they  are  no  less  important  m 

producing^  a  harmonious  whole.    One  of  the  first  premises  of 

decoration  is  the  assumption  that  there  is  a  definite  form  or 

shape  upon  which  a  decoration  is  to  be  applied.    The  direction 

of  the  bounding  lines  of  this  form  determines  the  direction  of 

the  principal  lines  of  the  decorative  matter  which  is  to  be  applied 

on  it. 

The  bounding  lines  of  a  floor  are  generally  straight  and  at  right 
angles  to  each  other.  This  fixes  several  important  points  regard- 
16 


ing  the  disposition  of  rugs  and  furniture.  Rugs  that  are  placed 
at  all  sorts  of  angles  on  the  floor  and  by  their  positions  bid  one 
go  in  any  direction  save  the  one  he  started  to  take  are  among 
the  most  disconcerting  and  distracting  lines  in  a  room  arrange- 
ment. Place  all  rugs  in  accord  with  the  bounding  lines  of  a 
room  and  harmony  is  at  once  restored. 

One  must  conform  to  this  principle  also  in  placing  furniture. 
Most  pieces  should  be  parallel  with  the  sides  of  the  room,  even 
though  they  are  not  against  the  walls.  Curved  hne  chairs  or 
other  small  objects  sometimes  lend  themselves  naturally  to  a 
diagonal  placement.  Care  should  be  taken  in  grouping  furni- 
ture to  give  the  appearance  of  harmony  with  the  room  structure. 
Let  us  look  after  the  piano  that  is  placed  catacomer  in  the 
living-room  and  the  bed,  in  the  same  position,  in  the  bedroom. 

It  is  not  unusual  to  see  pictures  strung  over  the  walls  in  such  a 
way  that  the  line  indicated  from  the  top  of  one  to  another  is  a 
zigzag  that  illy  suggests  harmony  with  the  structure  of  the  wall. 
Triangular  picture  wires  are  ugly  and  distracting.  Unless  a 
picture  is  small  enough  to  be  hung  with  an  invisible  attachment 
at  the  back,  it  should  be  hung  with  one  long  wire  passed  through 
two  screw  eyes,  one  at  each  top  comer  of  the  frame,  with  one 
wire  paralleling  each  side  of  the  fram^  and  going  over  a  hook 
above.  This  not  only  harmonizes  the  wire  with  the  frame,  but 
with  the  doors,  windows  and  the  room  structure. 

The  choice  and  arrangement  of  essential  materials  in  the  room, 
so  far  as  the  aspect  of  beauty  is  concem^d,  will  be  treated  in 
detail  later  on. 

The  principle  of  consistently  related  shapes 
f  o^   Shape      ^^^  gj^es  finds  scores  of  applications  in  the 
Factor*^^  ^  **  arrangement  of  a  room.    Who  has  not  won- 

dered what  to  do  with  a  round  clock,  when 
everything  else  adjacent  to  it  was  either  square  or  rectangular 
in  form?  Wherg  is  there  a  house  in  which  there  is  not  a  round 
or  oval  picture  to  be  placed,  or  a  chair  of  wholly  curved  lines, 
where  all  others  are  straight?  The  attempt  to  place  one  isolated 
round  object  on  a  wall  is  generally  a  failure,  because  there  is 

17 


nothing  to  relate  it  to  any  other  nearby  lines.  Oval  and  curved 
objects  must  be  repeated  by  others  similar  in  form  in  other 
positions  in  the  room  if  they  are  to  become  in  any  sense  a  part 
of  the  design. 

The  second  part  of  this  principle — consistent  sizes — ^is  even 
more  important  and  far-reaching  than  the  first.  To  the  architect, 
the  decorator  or  the  creator  of  any  art  object,  this  is  a  vital 
matter.  Every  interior,  as  well  as  exterior,  architectural  feature 
is  thought  of  in  relation  to  every  other  one  in  the  matter  of  size. 

It  is  not  uncommon  to  enter  a  room  and  find  a  chimney  large 
enough  for  an  Elizabethan  banquet  hall,  while  the  room  itself, 
in  size,  suggests  a  city  flat.  Nor  is  it  less  common  to  find  a  table 
or  divan  of  gigantic  proportions  being  required  to  live  in  harmony 
with  chairs  or  other  articles  of  various  pigmy  types.  These 
unusual  and  unhappy  relationships  cannot  conform  to  the  prin- 
ciple of  consistent  sizes. 

In  our  use  of  hangings,  upholstery,  rugs,  etc.,  the  lack  of  feeling 
for  consistent  sizes  is  still  more  often  apparent.  Before  dis- 
cussing this,  let  us  look  for  a  moment  at  patterns  and  motifs 
as  they  are  used  in  textiles,  wall  papers  and  rugs. 

For  some  unknown  reason  we  have  come  to  believe  that  there 
is  no  beauty  in  anything  in  which  there  is  not  a  pattern  plainly 
visible,  forgetting  that  three-fourths  of  all  wall  and  floor  spaces 
are  backgrounds  on  which  to  show  other  more  important  things, 
including  people,  who  have  some  right  to  be  exploited  even 
against  wall  paper.  There  are  some  phases  of  the  motif  running 
through  a  design,  that  may  be  considered  here  in  some  detail. 

There  are  three  distinct  varieties  of  motif.  First,  the  motif 
which  aims  to  reproduce  identically  a  natural  object.  Such 
things  are  rarely  successful.  The  second  is  known  as  the  abstract 
type,  where  the  motif  is  of  a  form  and  color  not  derived  from  a 
natural  source,  being  a  matter  of  space  and  line  arrangement, 
often  resulting  in  geometric  forms.  The  third,  known  as  the 
conventional  motif,  takes  a  natural  thing  and  attempts  to 
translate  it  into  form  and  color  suited  by  its  appearance  and  feel- 
ing to  some  particular  material  in  which  the  design  is  developed. 
18 


1 


In  the  conventional  design,  beauty  is  attained  by  harmonizing 
the  motif  with  the  material  on  which  the  design  is  made,  while 
the  naturalistic  motif  strives  to  represent  some  natural  thing  and 
takes  a  chance  on  its  being  appropriate  in  the  material  in  which 
it  is  to  be  rendered.  Harmony  in  motifs  means,  first,  a  relation 
in  this  particular,  from  which  it  follows  that  a  rug  or  floor  which 
is  entirely  geometric  in  pattern  cannot  be  used  successfully 
with  hangings  which  show  a  purely  naturalistic  design. 

Another  opportunity  for  harmony  is  found  in  consistently 
related  motifs  as  to  size  and  shape.  It  frequently  happens  that 
the  floor  motif,  for  example,  is  small  and  delicate  in  size  and 
refined  in  line  treatment.  If  a  person  is  naturally  sensitive  to 
color  rather  than  form  and  he  finds  a  rug  or  hangings  pleasing 
in  color,  he  is  often  satisfied.  For  harmony  in  relationship, 
however,  he  must  ask  if  the  motif  in  the  rug  and  that  in  the 
hangings  are  consistent  in  size  and  shape  with  the  floor  and 

wall  motifs. 

A  third  principle  of  form  is  known  as  balance. 
Elements  This  is  the  principle  of  arrangement  whereby 

m  a  Room  Must     attractions  are  equaUzed  and  through  this 
^'^^^  equalization  a  restful  feeling  is  obtained;  that 

is,  a  feeling  of  equilibrium  or  safety.  It  is  somewhat  discon- 
certing to  enter  a  small  room  and  find  a  black  piano  across  one 
comer  and  a  delicate  Hepplewhite  chair  in  the  opposite  comer. 
One  instinctively  rushes  to  the  aid  of  the  chair.  Attraction  ( 
may  be  of  color,  size,  shape  or  texture,  and  one  leams  only  by  / 
constant  practice  to  see  and  feel  the  attraction  forces  in  different 
objects  used.  '^ 

There  are  two  types  of  balance  to  consider.  The  first  one, 
known  as  bi-symmetric  balance,  is  the  equalization  of  attractions 
on  either  side  of  a  vertical  center  by  using  objects  the  same  size, 
shape,  color  and  texture.  This  is  formal,  dignified  and  safe, 
but  lacks  in  some  ways  the  delicacy  and  subtlety  resulting  from 
an  attempt  to  get  a  less  formal  placing.  Consider  a  vertical 
line  drawn  through  the  center  of  a  chimney-piece  placed  in  the 
middle  of  a  wall  space.  On  either  side  of  the  chimney-piece  and 
equally  distant  from  it  may  be  placed  two  pictures  similar  in 

19 


size,  form  and  color,  and  the  result  is  bi-symmetrical.  If  two 
similar  candlesticks  are  placed  one  at  either  end  of  the  chimney- 
piece  and  equidistant  from  the  end,  with  a  portrait  in  the  center, 
there  is  still  bi-symmetric  arrangement.  So  long  as  this  arrange- 
ment is  maintained,  bi-symmetry  results. 

A  second  kind  of  balance  is  known  as  occult  balance.  This  term 
is  used  to  signify  that  the  balance  is  rather  felt  or  sensed  than 
exactly  determined.  If  the  same  vertical  line  is  drawn  through 
the  same  chimney-piece,  one  picture  is  placed  a  certain  distance 
from  the  left  and  two  smaller  pictures  of  unequal  size  are  used 
on  the  right  to  balance  this.  The  two  pictures  must  be  so  placed 
that  their  attraction  equals  that  of  the  larger  one  at  the  left. 
Similarly,  if  one  large  porcelain  jar  and  two  or  three  other  articles 
are  to  be  used,  there  must  be  a  feeling  of  equal  attraction  on 
either  side  of  the  vertical  line. 

To  explain  briefly  the  primary  laws  of  balance  we  may  give  the 
rules:  "Equal  attractions  balance  each  other  at  equal  distances 
from  the  center."  And,  conversely:  "Unequal  attractions  bal- 
ance each  other  at  unequal  distances  from  the  center." 

A  third  and  a  little  mor^ -complicated  law  is  stated  as  follows: 
"Unequal  attractions  bafence  each  other  at  distances  from  the 
center  which  are  in  inverse  ratio  to  their  powers  of  attraction." 
Translated,  this  means  that  objects  with  the  strongest  attrac- 
tions tend  to  gravitate  toward  the  central  line,  while  less  attrac- 
tive ones  tend  to  draw  from  this  line. 

The  application  of  the  rules  of  balance  not  only  to  objects  on 
the  wall,  but  to  the  furniture  when  seen  against  the  wall  or 
against  the  floor,  is  essential  to  room  composition.  It  is  also 
essential  that  the  floor,  in  its  general  appearance,  should  bear 
a  balanced  relation  to  the  walls  and  to  the  hangings. 

There  is  no  better  place,  perhaps,  than  at  this  point  to  make 
clear  the  relations  of  these  three  bounding  surfaces.  The  ceiling 
should  be  unobtrusive,  but  keyed  in  color  to  the  rest  of  the 
room.  A  perfectly  white  ceiling,  except  in  a  white  room,  or 
an  over-ornamented  ceiling  anywhere  is  an  annoyance  to  him 
20 


who  would  see  his  friends  or  furnishings.  A  too-aggressive  wall 
paper  or  other  wall  covering  makes  a  bid  for  attention  quite  out 
of  proportion  to  its  rights  as  a  background,  while  aggressive  and 
over-assertive  floors  or  rugs  are  in  bad  taste,  particularly  when 
they  assume  the  prerogatives  of  the  hostess  in  their  attempt  at 
attraction. 

The  ceiling  should  be  about  as  much  lighter  and  less  attractive 
than  the  walls,  as  the  walls  are  lighter  and  less  attractive  than 
the  floor.    This  is  a  balanced  arrangement  of  ceilings,  walls  and 

floors. 

Operating  exactly  opposite  to  the  principle  of 
"Crawly  Pictures  balance  is  one  known  as  moveynent  This  is 
A*   B^d^^^^  calculated  to  cause  unrest,  excitement  and 

similar  sensations,  by  creating  an  interest 
which  causes  the  eye  to  move  from  one  thing  to  another.  It 
is  very  desirable  in  many  cases  that  movement,  particularly  of 
a  violent  type,  should  not  occur.  Allusion  to  stair  arrangements 
in  picture  hangings  has  already  been  made.  This  is  not  con- 
ducive to  sleep.  Erratic  crawling  vine  patterns,  creeping  up 
the  curtains  or  the  wall  paper,  are  a  little  suggestive  in  the  early 
morning  hours  if  one  chances  to  awake.  Violent  contrasting 
lines,  created  by  bad  furniture  placing  or  by  spotted  wall  papers 
or  floor  covering,  also  become  tiresome  and  disturbing,  except 
to  those  who  by  long  contact  with  such  things  have  become 
immune  to  their  influence.  Even  such  may  suffer  a  subconscious 
disturbance,  though  they  do  not  realize  it. 

There  is  a  certain  monotony  attendant  on  the  continual  presen- 
tation of  one  sound,  one  color  or  one  form,  for  mental  considera- 
tion. On  the  other  hand,  there  is  a  complete  disorganization  of 
the  powers  of  the  human  mind  if  a  host  of  colors,  forms  or  sounds 
are  presented  at  one  time.  If  one  is  poverty,  the  other  is  cer- 
tainly gluttony,  and  neither  should  be  accepted.  It  is  through 
a  judicious  selection  and  arrangement  that  sufficient  variety  is 
obtained  to  give  pleasure,  while  restraint  results  in  making  life 
humanly  possible.  It  is  very  rarely  that  we  err  on  the  side  of 
simplicity,  but  it  is  not  at  all  unlikely  that  we  may  become 
flagrantly  sumptuous,  with  an  uncomfortable,  tawdry  result. 

21 


The  principle  known  as  emphasis  is  one  which 
Emphasize  Only  we  must  regard  as  important.  In  a  bedroom 
Important  Things  Qi^e  ought  to  see  a  bed;  it  is  vastly  more 
ma  Room  important  than  the  picture  exhibition  hung 

about  it.  In  a  dining-room  a  well-set  table  is  the  emphatic  note, 
not  the  chenille  curtains  nor  the  products  of  the  chase  hung  upon 
the  wall.  In  the  living-room  the  easy-chair,  the  divan,  the  book- 
case, the  beautiful  portrait,  lamp  or  picture — all  these  things 
should  be  emphasized  by  color,  form  or  line,  that  their  importance 
as  related  to  other  things  in  the  room  may  be  apparent  at  sight. 

Knowing  this  to  be  true,  is  it  not  strange  that  we  still  find  people 
who  are  willing  to  emphasize  the  wall  paper  or  the  floor  or  the 
unpleasant  ceiling  decorations,  to  the  absolute  exclusion  of  any- 
thing else  that  may  have  to  be  used  in  the  room?  The  relation 
of  background  to  decorative  objects  cannot  be  insisted  upon 
too  much. 

The  final  principle  of  form  is  known  as  unity. 
The  Spirit  of  In  this  limited  discussion  only  a  word  can 
Ae  ^^®  House  j[jg  ^[^  Qf  j^.  A  room  is  a  unit,  so  should  a 
S  ^  "t   f  house  be.    It  is  impossible  to  look  with  equa- 

Each  Room  nimity  from  an  Old  English  dining-room  into 

a  Louis  XVI  sitting-room.  These  styles  are 
very  far  apart  in  their  meaning  and  can  only  be  harmonized  by 
those  who  know  how,  when,  where  and  how  much  of  each 
element  to  use. 

It  is  just  as  impossible  to  make  a  unit  out  of  a  mixture  of  Fif- 
teenth, Seventeenth  and  Nineteenth  Century  furniture,  unless 
one  knows  how.  Every  article  used  in  furnishing  a  house  not 
only  has  its  conventional  value,  but  its  design  also.  If  one  knows 
thoroughly  the  exact  meaning  and  power  of  a  Louis  XVI  chair, 
an  Elizabethan  table,  an  Italian  console  or  a  William  and  Mary 
bookcase,  there  is  no  doubt  that  these  may  be  used  successfully 
in  one  room. 

There  are  so  many  considerations  in  such  a  problem  that  it  is 
insufficient  to  choose  single  objects  for  their  value  alone.  Each 
thing  must  be  chosen  with  a  clear  understanding  of  what  room 
it  is  to  go  in  and  with  what  other  things  it  is  in  the  future  to 
22 


be  associated.  A  failure  to  do  this  will  certainly  result  in  pande- 
monium. 

What  shall  we  do  with  the  things  we  have?  Use  them  if  we  have 
to,  destroy  them  if  we  are  willing  to — at  least  eliminate  every- 
thing that  is  nonessential.  The  pernicious  practice  of  giving 
everything  one  learns  to  dislike  or  that  has  become  worn  out, 
to  the  poor,  does  more  to  prevent  them  from  enjoying  a  personal 
growth  than  any  other  one  thing. 

Perhaps  no  better  way  to  think  of  the  principle  of  unity  can  be 
suggested  than  to  quote  the  definition  of  an  eminent  Nineteenth 
Century  historian:  "A  unit  is  that  to  which  nothing  can  be 
added  and  from  which  nothing  can  be  taken  without  interfering 
materially  with  the  idea  itseK." 

The  question  of  texture  as  a  form  of  expres- 
Objecte  Should  gjQj^  jj^^g^  j^Q^  ^g  omitted.  Texture  is  that 
Look  the  Way  -,.,        -  i.  •    j.     i  •  i  j. 

They  Feel  quality  of  an  object  which  seems  to  convey 

the  idea  of  how  it  feels.  It  is  a  combination 

of  a  degree  of  soHdity,  strength,  roughness,  coarseness,  etc.  One 

finds  this  quality  in  the  grained  effects  of  wood,  in  the  weaves  of 

different  textiles,  in  the  appearance  of  braided  straws,  and  even 

in  feathers  and  other  materials. 

It  is  this  sense  of  fitness  in  textural  feeling  that  forbids  the  use 
of  hard,  harsh-grained  oaks  with  the  finer  textures  of  mahogany 
and  satin-wood.  Disregarding  this  quality,  people  often  com- 
bined the  coarser,  heavier  and  more-resisting  woolens  or  linens 
with  soft,  impressionable  and  destructible  silks  or  fine  cottons. 
Harmony  in  the  texture  quality  cannot  fail  to  contribute  to 
harmony  in  the  finished  unit. 

Such  is  the  language  of  art  expression  in  color,  form,  line  and 
texture.  The  principles  which  govern  the  right  selection  and 
combination  of  all  materials  that  go  to  make  a  house  are  the 
real  guides  to  growth  in  artistic  appreciation. 

^    J  rr   »  *u        Good  taste,  which  is  the  final  criterion  in  all  v 
Good  Taste  the         ^   •        i .  •     -   j        •  i  .  .  ■,7 

Final  Criterion      ^^'  ^^  cultivated  or  improved  in  most  people    / 
by  a  constant  study  and  application  of  the    \ 
principles  which  control  artistic  expression.  ^ 

23 


Should  we  not,  all  of  us,  do  well  often  to  take  time  to  remind 
ourselves  of  certain  great  established  principles  and  to  endeavor 
constantly  to  see  more  clearly  and  completely  the  principles 
that  govern  the  expression  of  these  truths?  Thereby  we  may 
unconsciously  form  habits  of  thinking  and  of  doing  things  that 
will  not  only  make  for  broader  and  better  personal  growth,  but 
will  contribute  to  a  higher  type  of  national  civilization.  We 
have  not  to  worry  if  all  the  powers  of  science  are  not  directed 
to  the  development  of  so-called  efficient  service,  in  lines  that 
are  wholly  material  and  commercial. 

We  are  extraordinarily  committed  to  this  propaganda,  as  a 
people,  and  we  might  ask  ourselves  whether  we  may  not  be 
developing  this  idea  at  the  expense  of  mental  and  spirtual  ideals 
that,  after  all,  are  the  real  things  that  not  only  determine  what 
we  actually  are,  but  are  the  only  things  that  are  truly  perma- 
nent. Life  is  certainly  something  beside  machinery,  raw  mate- 
rials and  money,  even  granting  these  to  be  essentials. 

If  we  will  acknowledge  this  dual  claim  of  commercial  materialism 
and  a  better  mental  or  spiritual  ideal,  we  shall  find  no  difficulty 
in  seeing  that  materials  can  only  be  refined  and  made  better  in 
quality  through  their  possession  of  the  art  quality,  and  this  art 
quality  is  only  a  harmonious  relation  of  each  of  the  elements  used 
to  express  any  idea,  in  any  field  in  which  a  man  is  working. 

Perceiving  the  desirability  of  the  art  quality  results  generally  in 
an  effort  to  possess  it,  and  that  entails  immediate  action  in  two 
distant  ways.  First,  go  out  to  find  the  simple,  fundamental 
principles  that  control  the  language  of  color,  form,  line  and 
texture;  second,  apply  these  principles  at  once  in  the  home,  in 
the  shop,  in  clothes,  in  printed  paper  or  in  any  concrete  thing 
where  interest  and  possibility  are  found.  Through  every  appli- 
cation growth  is  assured. 

J  «  Let  us  again  remember  that  man  is  exactly 

ofEnyironment    what  he  lives  in,   for  environment  is  the 
strongest  possible  factor  in  man's  develop- 
ment.   Let  us  not  forget  that  what  man  really  is,  is  what  his 
mind  is,  and  this  he  must  express  in  all  he  does. 

24 


V 


This  places  the  importance  of  the  home  where  it  deserves  to  be 
and  makes  its  furnishing  one  of  the  most  serious  and  at  the  same 
time  one  of  the  most  delightful  things  in  life,  never  for  an  instant 
minimizing  what  has  always  been  desirable,  but  vastly  enlarging 
and  ennobling  the  idea  for  which  it  stood. 

In  recognizing  anew  the  part  art  is  to  play  in  this  matter,  let  us 
not  forget  that  it  in  no  way  interferes  with  the  three  essential 
qualities  that  are  inevitably  factors  in  every  home  problem 
simple  or  elaborate,  as  the  case  may  be. 

Perfect  physical  comfort  is  necessary,  if  only  from  the  stand- 
point of  more  efficient  service  on  our  part  and  the  relief  it  brings 
us,  not  to  be  constantly  thinking  how  hard  the  bed  is,  how 
uncomfortable  the  chair  seems,  or  how  rough  and  uneven  the 
floor  feels.  Art  in  no  way  interferes  with  physical  comfort; 
in  fact,  it  demands  it,  as  an  element  of  the  eternal  fitness  of  things. 

The  nation  is  awake  to  the  power  of  cleanliness  as  a  factor  in 
making  an  efficient  physical,  and  thereby,  indirectly,  a  finer 
mental  being,  as  a  contribution  to  modem  civilization.  Every 
article  selected  for  the  home  should  have  this  requirement  con- 
sidered. Including  this  in  the  art  idea  will  remove  the  misappre- 
hension under  which  some  people  labor,  that  art  implies  disorder 
at  home,  a  dowdy  or  unkempt  person  and  a  disregard  of  nature's 
most  obvious  laws.  The  first  law  of  Heaven  is  order;  it  is  no 
less  so  of  art. 

Expense  is  the  constant  excuse  of  those  who  want  better  things 
but  cannot  afford  them.  There  are  as  many  bad  expensive 
things  as  there  are  cheap  ones.  No  home  is  too  poor  to  have 
much  better  things,  much  better  arranged,  than  it  has,  and  no 
home  is  so  rich  that  much  of  the  furnishing  might  not  well  be 
publicly  burned  and  the  rest  rearranged. 

Tradition  binds  most  of  us  in  absolute  servitude.  Let  us  not 
be  afraid  to  try  a  new  thing  used  in  a  new  way.  That  makes 
for  creative  growth,  which  is  art. 

From  any  standpoint,  comfort,  sanitation,  economics  or  art, 
the  home  is  to  become  the  greatest  moulding  infiuence  in  himian 
life.    Shall  we  remain  apathetic  and  indifferent  to  this  most 

25 


vital  problem  satisfied  to  increase  our  bank  account  only,  or 
shall  we  awaken  now  and  contribute  our  mite  to  a  fuller  national 
life  and  a  higher  and  happier  existence?  This  certainly  will 
not  decrease  our  power  to  increase  the  bank  account,  but  will 
enable  us  to  do  it  with  far  less  physical  effort. 

Traditions  have  generally  obtained  in  each 
rif^^  w^\i  generation  and  fashion  as  to  what  materials 
iJi^ge     1        e  g]^Q^|(j  ]3Q  ^gg(j  jj^  various  parts  of  the  house 

and  how  to  use  them.  The  original  ideas 
which  went  to  establish  these  traditions  or  manners  differed  in 
their  origins,  but  were  always  the  logical  outcomes  of  times  in 
which  they  were  developed.  For  instance,  the  walls  of  the  house 
in  the  Italian  Renaissance  were  of  stone.  Steel  was  not  thought 
of  and  wood  unsuited,  while  in  American  Colonial  days  wood 
was  the  most  plentiful  material  and  the  quickest  and  easiest  to 
handle  in  building  in  the  manner  in  which  the  people  lived. 

At  various  times  climate,  geography,  religious  and  social  customs 
and  the  developments  of  science  or  art  have  changed  conditions, 
and  with  this,  methods  and  materials  have  undergone  similar 
changes. 

Floors,  for  example,  have  mostly  been  of  clay,  stone,  tile  or 
wood,  dictated  by  one  or  more  of  the  modifying  influences  of 
which  we  have  spoken.  Wood  cannot  take  the  place  of  stone, 
neither  should  it  try  to  pretend  to  do  so,  but  there  is  no  denjang 
that  one  is  better  than  the  other  under  certain  conditions  and 
that  neither  is  the  only  good  floor  under  all  conditions. 

Linoleimi  as  a  floor  is  not  a  substitute  for  stone,  wood,  tile  or 
clay.  It  is  another  material,  recent  in  conception  and  suited 
to  particular  conditions,  because  of  properties  that  neither  stone, 
clay  nor  wood  have  in  exactly  the  same  proportions. 

__       - .     ,  Like  other  floors  in  modem  houses,  linoleiim 

afe  XSwT  °^sht  to  combine  the  qualities  of  sanitation, 
and  Desirable  comfort,  durability  to  fulfill  completely  its  func- 
tions. When  made  to  conform  to  these  ends 
— as  it  does  if  properly  designed,  and  then  selected  and  arranged 
so  as  to  harmonize  perfectly  with  its  surroundings — it  is  not  only 

26 


suitable  but  desirable.  Linoleum  is  sanitary,  because  the  most 
obvious  thing  about  it  is  the  ease  with  which  it  can  be  cleaned 
and  kept  clean. 

Linoleum  is  comfortable,  because  it  is  soft,  quiet  and  resilient 
imderfoot.    It  is  economical,  because  it  is  durable. 

In  parts  of  Europe,  the  artistic  possibilities  of  Hnoleum  have 
been  developed  to  such  a  degree  that  many  fine  homes  are  fur- 
nished throughout  with  floors  of  that  material.  There  is  no 
reason  why,  in  this  country,  the  development  of  the  art  side  of 
linoleum  should  not  follow  the  general  development  of  interior 
decoration.  For  patterns  and  colors,  suitable  for  any  scheme 
of  house  furnishing  and  decoration,  seemingly  can  be  produced. 

THE  END 


27 


} 


\ 


ARMSTRONG'S  LINOLEUM 

FOR  EVERY  ROOM  IN  THE  HOUSE 

While  the  principles  and  valuable  suggestions  on  home  furnishing 
and  decoration,  set  forth  by  Mr.  Parsons  in  the  previous  pages, 
are  fresh  in  your  mind,  let  us  show  you  how  well  the  idea  of 
Armstrong's  Linoleum  for  every  room  in  the  house  fits  in  with 
all  that  you  have  just  read.  It  will  take  only  a  few  minutes  to 
go  over  your  whole  house — ^room  by  room — and  the  facts  you 
will  learn  will  be  exceedingly  worth  your  while.  Let  us  first 
step  into  the  living-room. 

We  start  with  the  living-room  first,  because  it 

*  or  the  shows  the  possibilities  of  Armstrong's  Lino- 

ving-  j^^^  ^^  ^j^^j^  1^^^^^  r^^^  ^^^  name — living- 

\  room — ^suggests  comfort,  ease,  and  beautiful  and  artistic  sur- 
roundings. You  can  procure  Armstrong's  Linoleum  in  patterns 
and  colors  that  will  harmonize  perfectly  with  the  walls,  ceilings, 
hangings,  furnishings  and  rugs.  It  will  add  distinctly  to  the 
comfort  and  livable  qualities  of  your  living-room,  and  it  will 
s  make  a  floor  there  that  you  will  be  proud  to  show  to  visitors. 

Say  that  the  wall  is  of  panelled  wood  (or  suitably  papered), 
making  an  appropriate  background  for  the  tapestries,  chairs, 
table,  couch,  bric-a-brac,  lamps  and  rugs.  In  that  case,  you 
could  ask  for  nothing  better  for  your  floor  than  one  of  the  Par- 
quetry Inlaid  designs,  or  one  of  the  new  Jaspe  (moire)  effects  of 
correct  color  and  pattern  to  match  everything  else  in  the  room. 
(See  Colorplates  Nos.  II  and  IX.) 

^  Such  a  floor  looks  like  hardwood,  can  be  polished  like  hardwood, 
\  but  is  more  practical  and  less  expensive  than  hardwood  because 
it  is  easier  to  lay  and  easier  to  keep  clean.  It  is  just  as  durable, 
and  is  much  more  comfortable  because  of  its  quiet,  soft  resihence 
underfoot.  Running  an  oil  mop  over  it  daily  with  an  occasional 
waxing  usually  suffices  to  keep  such  a  floor  clean  and  sanitary, 
because  it  presents  a  smooth,  unbroken  surface  with  no  cracks  or 
crevices  for  dirt  and  germs.  Recent  experiments  have  shown  that 
the  linseed  oil  in  genuine  linoleum  is  poisonous  to  germs.  It  tends 
to  kill  practically  all  the  species  that  cause  dangerous  diseases. 

28 


For  the  Hall  '^^^  ^^^^  ^^  ^^^  ^^^  place  that  visitors  see  in 

your  home.  It  must  be  kept  speckless  and 
spotless.  Under  ordinary  conditions,  that  means  constant 
sweeping,  scrubbing  and  polishing — tasks  beyond  the  strength 
and  inclination  of  most  women.  But  it  is  so  easy  to  keep  Arm- 
strong's Linoleum  fresh  and  inviting  that  a  hall  floor  composed 
of  that  material  proclaims  the  neatness  of  the  housewife  to  all 
visitors  the  moment  they  cross  the  threshold.  Yet  it  is  no  tax 
on  any  woman  to  keep  such  a  floor  looking  that  way.  (See 
Colorplates  Nos.  I  and  IX.) 

No  matter  what  the  decorative  treatment  of  your  hall,  we  remind 
you  again  that  Armstrong's  Linoleum  will  provide  rich,  polished 
floors  in  mellow  tones  that  will  harmonize  perfectly  with  rugs, 
walls  and  furniture.  The  range  of  colors  and  designs  for  halls, 
dens,  libraries,  sun  parlors  or  conservatories  is  amply  wide  for 
all  purposes,  all  tastes.  The  durability  of  good  linoleum  is 
another  factor.  The  number  of  footsteps  it  would  take  to  wear 
it  out  could  never  be  estimated,  and  dripping  umbrellas  and 
wet  rubbers  do  not  damage  it. 

p      1  An  attractive  place  to  eat  in  is  half  the  sauce 

Dinins-Room  ^^  appetite  and  good  digestion.  You  may 
enter  such  a  room  jaded,  dispirited,  with  no 
desire  for  food.  But  if  your  sense  of  artistic  fitness  is  gratified 
by  the  furnishings  and  decorations — if  the  general  spirit  of  the 
room  is  one  of  invitation  and  good  cheer — ^you  are  refreshed  and 
re-stimulated.  And  you  find  yourself  turning  with  real  relish 
to  your  food  and  table  companions.  On  the  other  hand,  uncon- 
genial, disquieting  surroundings  are  sure  to  have  a  depressing 
effect  on  your  appetite  and  digestion. 

Here  again,  the  problem  is  to  relate  the  floor  to  the  walls,  the  furni- 
ture, the  rugs,  and  everything  else  in  the  room.  Fortunately,  how- 
ever, the  wide  variety  of  Armstrong  patterns  simplifies  the  problem 
with  regard  to  any  type  of  dining-room.  The  plain  linoleums  (with- 
out any  pattern)  can  be  had  in  tan,  blue,  green,  brown,  rose,  light 
gray  or  dark  gray.  The  Jaspe  patterns  show  grains  running  through 
them  as  charming  and  fascinating  as  watered  silk.  The  designs 
range  from  the  simple  and  unobtrusive  to  the  most  elaborate. 

29 


■v 


c 


Armstrong's  Linoleum  floors  are  smooth,  and,  of  course,  their 
sanitary  and  long-wearing  qualities,  and  the  ease  with  which 
they  can  be  cleaned  and  kept  clean,  especially  commend  them 
for  dining-room  use.  Remember  that  your  servants,  as  well  as 
yourself,  will  appreciate  Armstrong's  Linoleum  floors  throughout 
the  house.    (See  Colorplates  Nos.  Ill  and  IX.) 

F     til  B  li  ^^  ^^^  ^^  *^^  preceding  pages  of  this  book, 

Mr.  Parsons  has  well  pointed  out  that  sound, 

refreshing  sleep  is  most  possible  in  a  bedroom,  the  atmosphere  of 

which  suggests  coolness,  restfulness  and  perfect  aloofness  from 

the  busy,  noisy  world  outside.  And  he  also  points  out  that  such 

i.  a  room  should  be  softly  beautiful  and  refined.  And,  of  course,  it 

i  is  obvious  that  the  room  in  which  you  sleep  should  be  kept  ab- 

i  solutely  clean  and  sanitary. 

With  these  considerations  in  mind,  you  yourself  must  often 
have  thought  of  linoleum  as  the  natural,  logical  floor  for  a  bed- 
room. For  if  the  general  furnishings  and  decorations  are  softly 
beautiful  and  refined,  you  can  obtain  Armstrong's  Linoleum  in 
colors  and  patterns  that  also  are  softly  beautiful  and  refined.  We 
call  your  attention  particularly  to  the  matting  and  carpet 
effects,  and  the  Plain  and  Jaspe  Linoleums  in  light  shades  of 
tan,  gray,  rose  and  blue.  You  will  find  linoleum  not  one  whit 
colder  than  hardwood,  since  naturally  you  will  continue  to  use« 
fabric  rugs  beside  the  bed,  in  front  of  the  dressing  table,  etc. 

If  the  present  coverings  on  the  floors  of  your  bedrooms  are  so 
hard  to  keep  clean  that  they  are  seldom  thoroughly  cleaned,  they 
are  in  themselves  the  most  powerful  argument  for  the  cleanly 
and  sanitary  qualities  of  Armstrong's  Linoleum  that  possibly 
could  be  offered.  Remember  also  that  Armstrong's  Linoleum 
is  relatively  easy  to  install,  and  that  in  the  long  run  it  makes  the 
most  economical  floor  for  every  room  in  the  house.  (See  Color- 
(    plates  Nos.  V  and  X.) 

For  the  Bathroom  Water  is  always  being  spilled  on  the  bath- 
room floor.  It  rots  carpets  and  rugs.  It  gets 
into  the  cracks  of  tiling  and  in  time  may  cause  the  tiling  to  come 
up.  What  is  most  needed  in  a  bathroom,  therefore,  is  a  floor 
30 


X 


that  is  proof  against  moisture,  easy  to  clean,  sanitary,  comfort- 
able and  exceptionally  durable.  And  it  certainly  should  not  be  a 
floor  that  you  would  be  ashamed  to  show  visitors.  Rather  it 
should  not  suffer  from  comparison  with  the  floor  of  the  room 
from  which  it  leads. 

The  designs  of  Armstrong's  Linoleum  which  are  offered  for  the 
bathroom  combine  cleanable,  sanitary,  comfortable,  durable  and 
beautiful  qualities  in  the  highest  degree.  (See  Colorplates  Nos. 
V  and  IX.) 

p,      ,    ^  Your  first  thought  for  the  nursery,  or  children's 

^  plajToom,  is  that  it  shall  be  sanitary.  Most  of 
the  time,  the  children  are  running,  romping,  rolling  or  tumbling 
over  the  floor.  If  there  are  cracks  and  crevices  there  to  hold 
dirt  and  germs,  the  health  of  the  little  ones  is  imperiled.  But 
Armstrong's  Linoleum  is  practically  germ-proof  and  has  no 
cracks  for  dust  and  dirt  to  lodge  in.  It  is  a  tough,  elastic  floor 
that  wears  well  under  scuffling  feet,  that  breaks  falls,  and  that 
has  no  rough  edges  to  damage  dainty  dresses.  We  want  you  to 
know  the  cheery,  dainty  colors  and  patterns  especially  designed 
for  the  children.    (See  Colorplates  Nos.  VI  and  X.) 

p      ,  Many  people  do  not  consider  a  house  complete 

Sun  Parlor  and  nowadays  unless  it  has  a  sun  parlor  and  a 
Sleeping  Porch  sleeping  porch.  And  here  again,  to  secure  a 
thoroughly  satisfactory  floor  is  a  troublesome 
problem,  but  linoleum  solves  it  nicely  and  economically.  Laid 
properly  (as  explained  further  on  in  this  book)  linoleum  is  well- 
nigh  waterproof,  and  the  wide  range  of  colors  and  patterns  makes 
it  easy  to  select  a  floor  that  will  harmonize  with  the  furnishings 
and  trim.  Granite  Linoleums,  which  resemble  terrazzo,  or  some 
neat  tile  effect,  will  be  found  especially  pleasing  in  sun  parlors. 
The  colors  in  Granite  Linoleums  go  through  to  the  back.  (See 
Colorplates  Nos.  VIII  and  IX.)  The  use  of  linoleum  on  open 
porches  constantly  exposed  to  the  weather  is  not  recommended. 

For  the  Kitchen    Spotless  and  sanitary  are  adjectives  that  asso- 

and  Pantry  ^^^^®  naturally  with  the  nouns,  kitchen  and 

pantry.    If  your  kitchen  or  pantry  floor  is  the 

kind  that  requires  frequent  long  and  hard  sessions  with  the 

31 


water  pail  and  scrubbing  brush,  it  is  time  that  you  changed  to  a 
linoleum  floor.  Occasional  waxing,  and  daily  wiping  with  an  oil 
mop  or  cloth,  keeps  such  a  floor  as  spotless  and  shining  as  the 
proverbial  Dutch  kitchen  (unless  there  is  an  unusual  amount  of 
dirt  tracked  in).  And  the  bright,  handsome  Armstrong  designs 
help  to  make  your  kitchen  a  more  cheerful  place  to  work  in. 
And  isn't  that  important  for  any  woman  who  has  to  spend  a  good 
deal  of  her  time  there?  If  that  woman  happens  to  be  yourself, 
your  health  and  spirits  will  be  the  better  for  Armstrong's  Lino- 
leum on  the  kitchen  floor.  If  it  is  the  hired  cook  or  scrubbing 
woman,  she  will  be  all  the  more  likely  to  be  contented  with  her 
surroundings.  As  a  final  point,  you  know  how  quickly  the  average 
kitchen  floor  or  floor  covering  wears  out.  For  that  reason,  the 
exceptional  durability  of  good  inlaid  linoleum  is  a  point  worth 
keeping  in  mind.    (See  Colorplates  Nos.  VII  and  IX.) 

F    V   tibul  ^^^  ^^®  points  just  mentioned  hold  equally 

Laundry  and  '        *^®  ^^^  vestibule,  laundry  and  closets.   Arm- 
Qosets  strong's  Linoleum  will  provide  floors  that  are 

comfortable  underfoot,  sanitary,  durable  and 
easy  to  clean.  A  wide  variety  of  both  inlaid  and  printed  pat- 
terns is  offered  for  such  purposes.  A  few  such  are  reproduced 
on  Colorplates  Nos.  IX  and  X.  Your  local  merchants  can  show 
you  the  complete  line. 

Used  for  Years       '^^^  ^^^^  ^^  instaUing  linoleum  floors  all  over 
in  Europe  ^^®  house  is  not  new;  it  is  one  of  the  excellent 

hints  on  home  building  that  has  come  to  us 
from  Europe.  There  for  many  years  the  material  has  found  ready 
acceptance  in  bedrooms,  living-rooms,  dining-rooms,  etc.,  not 
alone  in  homes  of  moderate  means,  but  just  as  frequently  in 
those  of  the  rich  and  well-to-do.  Foreign  makers  have  catered 
especially  to  such  uses,  but  beautiful  as  their  patterns  are,  we 
confidently  believe  that  for  beauty,  attractiveness  and  general 
utility,  the  Armstrong  designs  now  available  for  every  room  in 
the  house  have  never  been  excelled.  Each  year  new  effects  are 
being  offered,  and  the  American  housewife  is  rapidly  coming  to 
realize  the  advantages  of  linoleimi  floors  from  both  an  artistic 
and  utilitarian  standpoint. 
32 


( 


By  way  of  summing  up,  consider  for  just  a 
The  Advantages  moment  what  the  quahties  are  that  you  really 
of  Linoleum         ^^^^  ^^^  demand  in  the  floors  in  your  home. 

Certainly  you  want  your  floors  to  be  durable. 
And  is  there  any  floor  you  can  think  of — cost  considered — ^that 
can  approach  a  good  linoleum  in  wearing  quality?  Next,  you 
demand  sanitation.  Do  you  know  of  any  floor  that  excels 
linoleum  in  that  respect? 

Most  assuredly  you  want  floors  that  are  easy  to  keep  clean.  Have 
you  not  found  linoleum  easy  to  clean?  And  you  must  have 
comfort.  Is  not  linoleum  easy  underfoot? 
But,  you  say,  we  must  have  warmth,  too.  Certainly  you  must. 
But  you  would  hardly  think  of  leaving  the  wood  floor  in  your 
bedroom  and  living-room  bare,  would  you?  No,  you  use  rugs. 
Follow  the  same  course  then  with  your  linoleum  floors,  and  you 
will  find  them  equally  as  comfortable  as  hardwood.  In  fact, 
thickness  for  thickness,  linoleum  is  a  better  nonconductor  of  heat 
than  wood  is. 

Then  finally  you  demand  beauty  and  economy  in  your  floors — 
and  justly  so.  As  for  color  harmony,  hardwood  has  distinct  limita- 
tions. Shades  of  brown  and  tan  are  about  the  only  colors  that 
are  available.  But  with  linoleum,  the  range  of  colors  and  patterns 
is  well-nigh  unlimited,  and  your  floors  can  thus  be  made  an  in- 
tegral part  of  your  general  color  scheme.  On  this  point,  the  color- 
plates  that  accompany  this  book  speak  for  themselves. 

As  to  economy,  linoleum  floors  of  good  quality  are  less  expensive 
today  than  the  cheapest  hardwood.  And  they  cost  less  to 
maintain,  too.  Given  reasonable  care  and  proper  treatment, 
linoleum  floors  will  last  indefinitely,  without  the  periodic  re-fin- 
ishing that  all  hardwood  requires. 

So  you  can  see  for  yourself,  once  you  analyze  the  subject,  how 
remarkably  linoleum  does  combine  each  and  every  one  of  the 
qualities  you  want  the  floors  in  your  home  to  possess. 

Naturally  we  want  you  to  be  thoroughly  satis- 
Personal  Service  ^^  ^^^i  every  piece  of  Armstrong's  Linoleum 
you  put  in  your  house — ^not  only  as  to  the  wearing  quality,  but 

33 


in  respect  to  the  pattern  and  color  as  well.  And  since  the  selection 
of  suitable  linoleum  floors  to  harmonize  with  different  types  of 
furnishings  and  color  schemes  involves  the  application  of  the 
principles  of  interior  decoration,  we  have  organized  a  Bureau  of 
Interior  Decoration  with  a  thoroughly  trained  decorator  at  its 
head  to  answer  any  questions  you  may  care  to  ask  about  the  use  of 
Armstrong's  Linoleum  in  your  own  home.  There  is  no  charge 
whatever  for  this  service.  Write  and  tell  us  what  your  problem 
is,  and  we  shall  do  our  utmost  to  help  you  solve  it  satisfactorily. 

Linoleum  was  invented  in  England  in  1863. 
^^*  The  name  comes  from  two  Latin  words,  linum 

Linoleuin  Is  ^^^^^  ^^^  oleum  (oil).  In  other  words,  it  takes 

its  name  from  its  principal  ingredient,  linseed  oil.  Before  it 
can  be  used  in  making  linoleum,  however,  the  linseed  oil  must 
be  oxidized  by  exposing  it  to  the  air  until  it  hardens  into  a  tough 
rubber-like  substance.  The  oxidized  oil  is  then  mixed  with 
powdered  cork,  wood  flour  and  various  gums  and  color  pig- 
ments, and  the  resulting  plastic  mass  pressed  on  burlap  by  means 
of  great  "calenders"  that  exert  a  pressure  of  hundreds  of  pounds 
to  the  square  inch.  The  "green"  linoleum  then  passes  into  huge 
drying  buildings,  called  "stoves,"  where  it  is  hung  up  in  festoons 
forty-five  feet  high,  to  cure  and  season.  This  curing  process  takes 
from  one  to  six  weeks,  depending  on  the  thickness  of  the  material. 

There  are  several  varieties  of  linoleum,  designated  as  follows: 

(a)  Plain  Linoleum — of  solid  color  without  pattern — the  heavier 
grades  of  which  are  used  for  covering  the  decks  of  battleships, 
and  hence  are  known  as  Battleship  Linoleum. 
(6)  Printed  Linoleum,  which  is  simply  plain  linoleum  with  a 
design  printed  on  the  surface  with  oil  paint. 

(c)  Inlaid  Linoleum,  in  which  the  colors  of  the  pattern  go  through 
to  the  burlap. 

(d)  Jaspe  Linoleum,  which  may  be  considered  a  species  of  inlaid 
linoleum,  since  the  colors  run  clear  through  the  fabric.  It  pre- 
sents an  appearance  somewhat  like  moire  silk. 

(e)  Granite  Linoleum,  which  is  also  a  variety  of  inlaid.  It  has  a 
mottled  appearance,  resembling  terrazzo. 

34 


On  the  colorplates  accompanying  this  book  are  reproduced 
examples  of  each  of  these  five  varieties  of  linoleum,  but  these 
patterns  do  not  by  any  means  comprise  the  entire  range  in 
which  Armstrong's  Linoleum  is  manufactured.  If  you  do  not 
find  a  design  to  suit  you  among  this  assortment,  your  local  mer- 
chant will  be  glad  to  show  you  the  complete  Armstrong  Line  of 

380  patterns. 

Armstrong's  Linoleum  is  the  product  of  the 
A  Modem  Plant  jj^Qg^  modern  linoleum  mill  in  America.  The 
ingredients  used  are  carefully  tested,  the  machinery  is  of  the 
latest  type,  the  operatives  are  workmen  of  skill  and  experi- 
ence, and  the  inspections  are  exceptionally  rigid.  You  can  be 
sure  that  any  piece  of  linoleum  that  bears  the  Circle  A  trade- 
mark of  the  Armstrong  Cork  Company  is  of  good  quality  and 
workmanship,  built  to  last. 

•  •      A       ,  Armstrong's  Linoleum  received  the  Grand  Prize 
xposi  on    war  g^^  the  Panama-Pacific  International  Exposition 
at  San  Francisco — ^the  highest  possible  award — conferred  on  no 
other  brand  of  linoleum,  foreign  or  domestic. 

Since  there  are  substitute  floor  coverings  on 
How  to  Tell  ^Yie  market  nowadays  that  look  like  linoleum 

ea  no  eum  ^^  ^j^^  surface,  but  which  are  merely  felt- 
paper  imitations,  it  is  to  your  advantage  to  remember  these  two 
easy  ways  to  tell  genuine  linoleum:  First,  look  at  the  back  and 
make  sure  that  it  is  burlap.  Second,  try  to  tear  it.  Imitations 
tear  easily.  The  safest  way  is  to  ask  for  Armstrong's  Linoleum 
by  name  and  look  for  the  Circle  A  trade-mark  on  the  back. 

First  get  in  touch  with  the  dealer  in  home 

How  to  Get  furnishings  with  whom  you  are  accustomed  to 

Armstrong  8  .     j        ti?  i  i.    i  j         ±. 

linoleum  trade.    If  he  cannot  show  you  an  adequate 

assortment  of  Armstrong  patterns,  write  to 

us,  not  forgetting  to  include  the  merchant's  name  and  address. 

Then  we  shall  do  all  in  our  power  to  help  you  solve  your  interior 

decoration  problems  and  to  supply  your  linoleum  needs.    We 

also  shall  do  everything  possible  to  see  that  in  the  future  you 

can  secure  what  you  require  through  your  own  merchant.    As 

manufacturers,  we  cannot  sell  direct  to  the  consumer. 

35 


HOW  TO  LAY  LINOLEUM 

Laid  properly,  linoleum  will  last  for  years,  and  if  given  reasonable  care, 
will  retain  its  attractive  appearance  indefinitely.  Because  it  is  to  your 
interest  as  well  as  ours  to  see  that  your  linoleum  is  well  laid  and  receives 
proper  attention,  we  ask  you  to  read  and  note  carefully  the  following 
directions: 

The  laying  of  linoleum  is  not  a  simple  task.  It 
Skilled  Work  requires  considerable  experience  before  one  learns 

Required  j^q^  ^q  ^^^  ^j^g  goods  to  avoid  waste  and  how  to  lay 

the  material  so  as  to  prevent  the  bucklhag  and  cracking  that  may  occur, 
due  to  faulty  workmanship.  Therefore,  it  will  likely  prove  cheaper  in  the 
end,  and  most  assuredly  will  give  you  greater  satisfaction,  if  you  have  your 
merchant's  skilled  workmen  lay  your  linoleum  for  you,  instead  of  trying 
to  do  the  work  yourself. 

There  is  only  one  absolutely  satisfactory  way  to  lay  linoleum,  and  that 
is  to  put  it  down  over.a  layer  of  heavy  felt  paper.  Ordinary  gray  builders' 
felt,  weighing  1^  pounds  to  the  square  yard,  is  the  grade  used  for  this 
purpose. 

All  floors  are  subject  to  expansion  and  contraction 
The  Advantages  of  caused  by  the  variations  in  heat  and  cold  in  summer 
the  Felt  Layer  ^^^  winter.     Wood  floors  often  dry  out,  leaving 

cracks.  This  may  in  turn  cause  the  linoleum  to  break  or  buckle.  The 
heavy  felt  paper  will  take  up  this  expansion  and  contraction,  and  positively 
increase  the  life  of  the  linoleum  floor.  In  fact,  the  linoleum  will  last  much 
longer  than  if  laid  by  unskilled  persons  in  a  makeshift  manner. 

The  felt  layer  acts  as  a  cushion,  deadens  sound,  and  makes  the  floor 
warm  and  delightful  to  walk  upon.  The  linoleum,  moreover,  can  be 
removed  from  the  floor,  if  necessary,  with  little  trouble. 

LAYING  LINOLEUM  OVER  FELT  PAPER 

In  putting  down  linoleum  over  felt,  the  felt  is  first  cut  into  lengths  to  go 
across  the  short  way  of  the  room.  The  quarter-round  floor  moulding  is 
removed  and  the  felt  fitted  snugly  at  each  end.  A  non-waterproof  lino- 
leum paste  is  applied  to  the  under  surface  of  the  felt,  which  is  then  rolled 
or  pressed  down  until  it  adheres  firmly  to  the  floor. 

The  lengths  of  linoleum  are  next  placed  in  position  crosswise  to  the 
direction  of  the  felt  strips,  or  the  long  way  of  the  room.  One  piece  is  laid 
at  a  time.  The  surface  of  the  felt  under  each  strip  of  linoleum  is  well 
coated  with  the  paste,  except  for  four  to  six  inches  along  each  end  and  side, 
and  along  the  seams,  which  spaces  are  left  bare.    The  linoleum  is  then 

36 


put  down  and  rolled.  After  the  paste  has  begun  to  dry,  the  free  edges 
of  the  linoleum  are  trimmed  to  fit  neatly  at  all  points.  Then  a  waterproof 
linoleum  cement  (a  kind  of  glue)  is  applied  to  the  felt  along  all  edges  and 
seams,  back  under  the  linoleum  for  a  distance  of  four  to  six  inches,  so  as 
to  keep  out  moisture.  The  linoleum  finally  is  well  rolled  with  a  150-pound 
iron  roller,  to  insure  perfect  adhesion. 

Weights,  such  as  pressed  brick  or  sand  bags,  are  placed  one  against  each 
other,  lengthwise,  along  all  edges  and  seams  to  press  the  linoleum  firmly 
against  the  felt  while  the  cement  dries.  After  twenty-four  hours,  the 
bricks  are  removed,  and  the  floor  is  ready  for  use.  The  floor  moulding  is 
put  back  into  place.  The  result  is  a  neat,  resilient,  sanitary,  waterproof 
floor.  No  little  skill  is  required  to  do  this  work  properly.  The  additional 
cost  of  having  it  done  by  an  experienced  linoleum  layer  is  relatively  small. 

A  less  satisfactory  way  to  lay  linoleum  is  to  place  it  directly  on  the  wood 
or  concrete  floor.  Where  a  more  or  less  temporary  floor  covering  is  desired, 
as  in  the  case  of  tenants  on  short  leases,  etc.,  this  method  may  be  made 
to  suffice. 

DIRECTLY  ON  WOOD  FLOORS 

The  floor  should  be  perfectly  dry  and  clean,  the  surface  smooth  and  even. 
Cracks  should  be  filled;  nails  should  be  removed;  and  the  imeven  edges 
of  the  boards  planed  off,  if  necessary. 

Handling  ^^   ^^^^   weather,    linoleum   becomes   brittle.     If 

the  Lin^eum  unrolled  when  in  that  condition,  it  is  apt  to  crack. 

Stand  the  roll  of  linoleum,  therefore,  in  a  warm  room 
for  at  least  48  hours  before  using  it.  Measure  the  linoleum  carefully,  and, 
if  possible,  cut  it  to  run  in  the  opposite  direction  from  the  boards  in  the 
floor.  This  will  tend  to  prevent  long  cracks,  due  to  slight  unevenness  of 
the  floor  boards. 

After  it  has  been  tightly  wound  in  the  original  roll  for  weeks  or  months, 
it  requires  some  time  for  linoleum  to  assume  its  proper  shape,  and  when 
laid  flat  on  the  floor  it  must  be  allowed  to  "grow"  or  expand;  otherwise,  it 
may  "buckle"  or  crack.  To  provide  for  this  expansion,  proceed  as  follows: 

Remove  First,  remove  the  quarter-round  floor  moulding  from 

Floor  Moulding  the  baseboard  all  around  the  room.  Then  cut  the 
linoleum,  trimming  it  from  ^  to  J^  inch  short  at 
each  end  just  so  the  edge  of  the  linoleimi  will  be  covered  by  the  quarter- 
round  moulding  when  this  is  replaced.  Along  the  side  walls,  the  linoleum 
should  not  be  placed  tight  against  the  baseboard,  but  just  as  at  the  ends, 
a  space  ot}ito}4  inch  wide  should  be  left.  The  edges  of  the  linoleum  at 
the  seams,  however,  should  be  butted  tightly  against  each  other. 

37 


Laid  in  this  manner,  the  linoleum  will  have  an  opportunity  to  expand 
underneath  the  edge  of  the  quarter-round  moulding.  In  replacing  the 
quarter-round,  do  not  fasten  it  down  tight  against  the  surface  of  the 
linoleum.  The  quarter-round  must  not  bind  the  material  at  any  point, 
but  should  be  niailed  to  the  baseboard  in  such  manner  as  to  permit  the 
lifting  out  of  the  linoleum  easily  should  retrimming  become  necessary. 

Should  a  buckle  or  air  bubble  develop  in  the  linoleum,  it  must  be  smoothed 
out,  and  the  edge  of  the  linoleum  under  the  floor  moulding  cut  back  a 
trifle.    Do  not  put  any  brads  in  the  linoleum  during  the  expansion  period. 

Care  must  be  taken  to  fit  the  linoleum  neatly  around 

Fitting     ^  radiators,  waste  pipes,  doorways,  wall  projections, 

Around  Pipes  and     ^^^    Where  possible,  the  gas  stove,  kitchen  range* 

rojec  ons  ^^^  other  movable  equipment  should  be  disconnected 

and  linoleum  laid  under  it. 

In  many  cases  it  will  be  found  that  it  is  not  necessary 
Fastening  Linoleum  ^o  fasten  linoleum  to  the  floor  at  all,  when  it  has 
been  laid  under  the  quarter-round  moulding  at  the  sides  and  ends.  The 
moulding  itself  will  be  all  that  is  required  to  hold  the  material  in  place. 

Where  it  becomes  necessary,  however,  to  fasten  the  linoleum  to  wood 
floors,  use  No.  18,  ^-inch,  wire  brads.  Never  use  carpet  tacks.  The 
brads  should  be  set  in  3^  to  J^  inch  from  the  edge  and  should  be  spaced 
about  four  inches  apart  along  the  edges  and  three  inches  apart  on  seams. 
The  brads  should  be  driven  down  until  the  heads  are  lost  in  the  surface 
of  the  linoleum. 

DIRECTLY  ON  CONCRETE  FLOORS 
The  only  way  to  fasten  linoleum  to  concrete  in  your  laundry,  entry-way, 
bathroom  or  on  any  other  concrete  floor  is  by  means  of  paste  and  water- 
proof cement.  We  strongly  recommend  that  you  have  your  merchant  do 
this  for  you,  using  the  felt  imderlayer,  previously  described,  for  this  is 
the  only  way  to  insure  thoroughly  satisfactory  results.  But  if  you  should 
decide  to  lay  the  material  yourself,  follow  these  directions  carefully: 

No  concrete  floor  can  be  considered  absolutely  dry 
Floor  Must  Be  Dry  jj^  much  less  than  three  to  four  months  after  con- 
struction, depending  upon  the  season,  weather,  and  other  conditions. 
Moisture  in  the  floor  will  inevitably  harm  the  linoleum.  It  is  absolutely 
essential,  therefore,  that  the  linoleum  be  not  laid  until  the  concrete  has 
had  time  to  season  and  dry  thoroughly. 

When  linoleum  is  laid  over  concrete  in  the  manner 

Fitting  described  here,  it  is  not  necessary  to  allow  for 

e       o  cum  expansion,  as  the  fabric  cannot  expand  after  it  is 

pasted  down.    The  linoleum  should  be  cut  to  fit  tightly  at  each  end,  and 

around  all  projections  or  pipes. 

38 


The  method  of  laying  Imoleum  over  a  concrete  floor 
i^y^  is  similar  to  the  final  operation  of  laying  linoleum 

the  Lmoleum  over  felt,  as  described  on  pages  36-37.  Use  Armstrong's 

Linoleum  Paste  (non-waterproof)  for  pasting  the  center  of  the  linoleum 
strips  to  the  concrete,  and  Nonpareil  Linoleum  Waterproof  Cement  for 
gluing  the  edges  and  s$sans  to  the  concrete  floor,  so  as  to  prevent  water 
from  getting  imdemeath  the  fabric.  You  can  secure  the  necessary  paste 
and  cement  from  your  merchant. 

After  removing  all  dirt  and  dust,  apply  Armstrong's  Linoleum  Paste  to  the 
concrete  floor  with  a  wide  brush,  to  within  four  to  six  inches  of  each  side 
and  end  of  the  linoleum  strip,  which  space  is  left  bare  for  the  later  appli- 
cation of  the  cement.  Put  the  width  of  linoleum  in  place  and  roll  it  out 
at  once,  before  the  paste  dries.  Repeat  the  same  operation  with  the  suc- 
ceeding strips  of  linoleum,  butting  the  edges  of  the  strips  together  tightly. 
Trim  the  ends  to  fit  snugly  against  the  wall.  Then  lift  the  edges  of  the 
strips  of  linoleum  along  the  sides  and  ends  and  apply  Nonpareil  Linoleum 
Waterproof  Cement  with  a  paint  brush  to  the  concrete  floor  as  far  back 
as  the  paste  will  permit.  Remove  any  cement  that  gets  on  the  surface 
at  once  with  alcohol.  Finally,  roll  the  linoleum  with  an  iron  roller  (if 
possible)  to  insure  perfect  adhesion. 

Weights,  such  as  pressed  brick,  sand  bags  or  other  heavy  objects,  should 
then  be  placed  along  all  seams  and  edges,  and  allowed  to  remain  for  not  less 
than  twenty-four  hours.  Lmoleum  should  never  be  laid  over  concrete  floors 
in  basements,  unless  the  concrete  has  first  been  thoroughly  water-proofed. 

HOW  TO  CARE  FOR  LINOLEUM 

In  Europe,  where  linoleum  is  used  extensively  for  bedrooms,  diaing-rooms, 
living-rooms,  etc.,  housewives  take  especial  pride  in  caring  for  and  polish- 
ing the  material  so  that  their  floors  always  look  bright  and  attractive. 
Reasonable  care  and  proper  treatment  will  add  greatly  to  the  appearance 
and  the  life  of  your  linoleum  floor. 

.     T  •     1  As  it  does  not  catch  dirt  readily,  sweeping  linoleum 

Ueaning  Lmoleum  jg  an  easy  task.  Going  over  it  once  a  day  with  an 
oil  mop  will  usually  keep  it  bright  and  clean. 

When  washing  is  necessary,  use  a  mild  soap  and  tepid  water — ^not  hot. 
Wash  about  a  yard  at  a  time,  rinse  it  with  clear  water,  and  then  dry  it 
thoroughly.  When  washing  or  mopping  your  linoleum,  never  "flood "  the 
surface  with  water. 

Contrary  to  the  idea  of  some  housewives,  certain  advertised  washing 
powders  and  scouring  soaps  should  never  be  used  on  linoleimi,  as  they 
contain  caustic  or  alkali,  which  eat  into  the  surface  and  destroy  the  colors. 

89 


A  good  rule  is  not  to  use  soda,  lye,  potash,  strong  soaps  or  powders  of  any 
kind.    A  good  mild  soap  is  all  that  is  necessary. 

Polishing  Linoleum  Your  linoleum  will  last  longer,  and  the  brightness 
of  the  colors  will  be  retained  and  renewed  if  you  go 
over  the  surface  every  five  or  six  weeks  with  some  good  floor  wax  or 
polish,  such  as  "Johnson's  Prepared  Wax,"  "Old  English  Wax"  or  any 
other  good  floor  wax.  A  good  home-made  polish  is  easily  prepared  by 
dissolving  under  slow  heat  equal  parts  by  weight  of  beeswax  and  turpen- 
tine. Care  must  be  taken  to  prevent  the  mixture  from  taking  fire  while 
preparing  it.  When  cool,  take  a  little  on  a  cloth  and  rub  it  into  the  lino- 
leum thoroughly,  especially  at  the  points  of  greatest  wear.  Do  not  use 
too  much  polish  of  any  kind,  but  rub  it  in  well.  It  is  very  easy  to  keep 
linoleum  clean  that  is  waxed  and  polished  occasionally. 

Heavy  Furniture       '^^®  castors  ordinarily  used  are  apt  to  cut  into  the 
on  Linoleum  linoleum  if  the  furniture  is  heavy.    Therefore,  it  is 

best  to  substitute  glass  or  metal  shoes.  These  sliding 
shoes  have  a  wide  bearing  surface  and  no  rough  edges.  They  are  made  in 
several  sizes,  have  a  similar  shank  to  that  on  a  regular  castor,  and  will  fit 
the  same  sockets.  On  chairs,  rubber  tips  will  answer  the  same  purpose. 
Always  lay  a  piece  of  carpet  on  the  floor,  or  a  board,  when  moving  very 
heavy  furniture,  to  prevent  marring  the  surface  of  the  linoleum. 


I 


® 


40 


I 


An  enclosed  porch  facing  the  garden  of  a  residence  in  Europe.  The  linoleum  is  an  unusual  design  in  two  tones  of  blue 


'     r  N  I  V 


Hall  in  a  European  residence,  with  a  quiet,  subdued  linoleum  pattern  on  the  floor 


■■■I';::  ^"""^      --|— >ir-      ^^ 

:■-• 

Master's  bedroom  in  an  aristocratic  mansion  in  Europe.    Note  the  perfect  fitness  of  the  linoleum  floor  in  the  general  scheme 


Child's  bedroom  in  a  villa  in  Switzerland.    The  delicate  pattern  of  the  linoleum  is  indistinguishable  in  the  photograph 


I 


A  library  in  Europe,  showing  an  effective  use  of  a  small  linoleum  pattern,  with  a  plain  linoleum  border 


Reception  room  in  a  European  residence.    The  Imoleum  is  gray  and  black 


Reception  room  in  a  fine  residence  in  Europe.    The  linoleum  used  is  huff  and  black,  with  a  dark  plain  border 


A  European  hall.    The  linoleum  floor  is  a  subdued  pattern 
in  greens  and  black 


Children's  room  in  a  private  residence  on  the  Continent.    The 
linoleum  is  a  soft  pale  green  and  brown 


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